Written by
Robert Hayden |
I
Jesús, Estrella, Esperanza, Mercy:
Sails flashing to the wind like weapons,
sharks following the moans the fever and the dying;
horror the corposant and compass rose.
Middle Passage:
voyage through death
to life upon these shores.
"10 April 1800--
Blacks rebellious.
Crew uneasy.
Our linguist says
their moaning is a prayer for death,
our and their own.
Some try to starve themselves.
Lost three this morning leaped with crazy laughter
to the waiting sharks, sang as they went under.
"
Desire, Adventure, Tartar, Ann:
Standing to America, bringing home
black gold, black ivory, black seed.
Deep in the festering hold thy father lies, of his bones
New England pews are made, those are altar lights that were his eyes.
Jesus Saviour Pilot Me
Over Life's Tempestuous Sea
We pray that Thou wilt grant, O Lord,
safe passage to our vessels bringing
heathen souls unto Thy chastening.
Jesus Saviour
"8 bells.
I cannot sleep, for I am sick
with fear, but writing eases fear a little
since still my eyes can see these words take shape
upon the page & so I write, as one
would turn to exorcism.
4 days scudding,
but now the sea is calm again.
Misfortune
follows in our wake like sharks (our grinning
tutelary gods).
Which one of us
has killed an albatross? A plague among
our blacks--Ophthalmia: blindness--& we
have jettisoned the blind to no avail.
It spreads, the terrifying sickness spreads.
Its claws have scratched sight from the Capt.
's eyes
& there is blindness in the fo'c'sle
& we must sail 3 weeks before we come
to port.
"
What port awaits us, Davy Jones' or home? I've
heard of slavers drifting, drifting, playthings of wind and storm and
chance, their crews gone blind, the jungle hatred crawling
up on deck.
Thou Who Walked On Galilee
"Deponent further sayeth The Bella J
left the Guinea Coast
with cargo of five hundred blacks and odd
for the barracoons of Florida:
"That there was hardly room 'tween-decks for half
the sweltering cattle stowed spoon-fashion there;
that some went mad of thirst and tore their flesh
and sucked the blood:
"That Crew and Captain lusted with the comeliest
of the savage girls kept naked in the cabins;
that there was one they called The Guinea Rose
and they cast lots and fought to lie with her:
"That when the Bo's'n piped all hands, the flames
spreading from starboard already were beyond
control, the ******* howling and their chains
entangled with the flames:
"That the burning blacks could not be reached,
that the Crew abandoned ship,
leaving their shrieking negresses behind,
that the Captain perished drunken with the wenches:
"Further Deponent sayeth not.
"
Pilot Oh Pilot Me
II
Aye, lad, and I have seen those factories,
Gambia, Rio Pongo, Calabar;
have watched the artful mongos baiting traps
of war wherein the victor and the vanquished
Were caught as prizes for our barracoons.
Have seen the ****** kings whose vanity
and greed turned wild black hides of Fellatah,
Mandingo, Ibo, Kru to gold for us.
And there was one--King Anthracite we named him--
fetish face beneath French parasols
of brass and orange velvet, impudent mouth
whose cups were carven skulls of enemies:
He'd honor us with drum and feast and conjo
and palm-oil-glistening wenches deft in love,
and for tin crowns that shone with paste,
red calico and German-silver trinkets
Would have the drums talk war and send
his warriors to burn the sleeping villages
and kill the sick and old and lead the young
in coffles to our factories.
Twenty years a trader, twenty years,
for there was wealth aplenty to be harvested
from those black fields, and I'd be trading still
but for the fevers melting down my bones.
III
Shuttles in the rocking loom of history,
the dark ships move, the dark ships move,
their bright ironical names
like jests of kindness on a murderer's mouth;
plough through thrashing glister toward
fata morgana's lucent melting shore,
weave toward New World littorals that are
mirage and myth and actual shore.
Voyage through death,
voyage whose chartings are unlove.
A charnel stench, effluvium of living death
spreads outward from the hold,
where the living and the dead, the horribly dying,
lie interlocked, lie foul with blood and excrement.
Deep in the festering hold thy father lies, the corpse of mercy
rots with him, rats eat love's rotten gelid eyes.
But, oh, the
living look at you with human eyes whose suffering accuses you, whose
hatred reaches through the swill of dark to strike you like a leper's
claw.
You cannot stare that hatred down or chain the fear that stalks
the watches and breathes on you its fetid scorching breath; cannot
kill the deep immortal human wish, the timeless will.
"But for the storm that flung up barriers
of wind and wave, The Amistad, señores,
would have reached the port of Príncipe in two,
three days at most; but for the storm we should
have been prepared for what befell.
Swift as a puma's leap it came.
There was
that interval of moonless calm filled only
with the water's and the rigging's usual sounds,
then sudden movement, blows and snarling cries
and they had fallen on us with machete
and marlinspike.
It was as though the very
air, the night itself were striking us.
Exhausted by the rigors of the storm,
we were no match for them.
Our men went down
before the murderous Africans.
Our loyal
Celestino ran from below with gun
and lantern and I saw, before the cane-
knife's wounding flash, Cinquez,
that surly brute who calls himself a prince,
directing, urging on the ghastly work.
He hacked the poor mulatto down, and then
he turned on me.
The decks were slippery
when daylight finally came.
It sickens me
to think of what I saw, of how these apes
threw overboard the butchered bodies of
our men, true Christians all, like so much jetsam.
Enough, enough.
The rest is quickly told:
Cinquez was forced to spare the two of us
you see to steer the ship to Africa,
and we like phantoms doomed to rove the sea
voyaged east by day and west by night,
deceiving them, hoping for rescue,
prisoners on our own vessel, till
at length we drifted to the shores of this
your land, America, where we were freed
from our unspeakable misery.
Now we
demand, good sirs, the extradition of
Cinquez and his accomplices to La
Havana.
And it distresses us to know
there are so many here who seem inclined
to justify the mutiny of these blacks.
We find it paradoxical indeed
that you whose wealth, whose tree of liberty
are rooted in the labor of your slaves
should suffer the august John Quincey Adams
to speak with so much passion of the right
of chattel slaves to kill their lawful masters
and with his Roman rhetoric weave a hero's
garland for Cinquez.
I tell you that
we are determined to return to Cuba
with our slaves and there see justice done.
Cinquez--
or let us say 'the Prince'--Cinquez shall die.
"
The deep immortal human wish,
the timeless will:
Cinquez its deathless primaveral image,
life that transfigures many lives.
Voyage through death
to life upon these shores.
|
Written by
Federico García Lorca |
Playing her parchment moon
Precosia comes
along a watery path of laurels and crystal lights.
The starless silence, fleeing
from her rhythmic tambourine,
falls where the sea whips and sings,
his night filled with silvery swarms.
High atop the mountain peaks
the sentinels are weeping;
they guard the tall white towers
of the English consulate.
And gypsies of the water
for their pleasure erect
little castles of conch shells
and arbors of greening pine.
Playing her parchment moon
Precosia comes.
The wind sees her and rises,
the wind that never slumbers.
Naked Saint Christopher swells,
watching the girl as he plays
with tongues of celestial bells
on an invisible bagpipe.
Gypsy, let me lift your skirt
and have a look at you.
Open in my ancient fingers
the blue rose of your womb.
Precosia throws the tambourine
and runs away in terror.
But the virile wind pursues her
with his breathing and burning sword.
The sea darkens and roars,
while the olive trees turn pale.
The flutes of darkness sound,
and a muted gong of the snow.
Precosia, run, Precosia!
Or the green wind will catch you!
Precosia, run, Precosia!
And look how fast he comes!
A satyr of low-born stars
with their long and glistening tongues.
Precosia, filled with fear,
now makes her way to that house
beyond the tall green pines
where the English consul lives.
Alarmed by the anguished cries,
three riflemen come running,
their black capes tightly drawn,
and berets down over their brow.
The Englishman gives the gypsy
a glass of tepid milk
and a shot of Holland gin
which Precosia does not drink.
And while she tells them, weeping,
of her strange adventure,
the wind furiously gnashes
against the slate roof tiles.
|
Written by
Dylan Thomas |
O make me a mask and a wall to shut from your spies
Of the sharp, enamelled eyes and the spectacled claws
Rape and rebellion in the nurseries of my face,
Gag of dumbstruck tree to block from bare enemies
The bayonet tongue in this undefended prayerpiece,
The present mouth, and the sweetly blown trumpet of lies,
Shaped in old armour and oak the countenance of a dunce
To shield the glistening brain and blunt the examiners,
And a tear-stained widower grief drooped from the lashes
To veil belladonna and let the dry eyes perceive
Others betray the lamenting lies of their losses
By the curve of the nude mouth or the laugh up the sleeve.
|
Written by
Elizabeth Bishop |
Now can you see the monument? It is of wood
built somewhat like a box.
No.
Built
like several boxes in descending sizes
one above the other.
Each is turned half-way round so that
its corners point toward the sides
of the one below and the angles alternate.
Then on the topmost cube is set
a sort of fleur-de-lys of weathered wood,
long petals of board, pierced with odd holes,
four-sided, stiff, ecclesiastical.
From it four thin, warped poles spring out,
(slanted like fishing-poles or flag-poles)
and from them jig-saw work hangs down,
four lines of vaguely whittled ornament
over the edges of the boxes
to the ground.
The monument is one-third set against
a sea; two-thirds against a sky.
The view is geared
(that is, the view's perspective)
so low there is no "far away,"
and we are far away within the view.
A sea of narrow, horizontal boards
lies out behind our lonely monument,
its long grains alternating right and left
like floor-boards--spotted, swarming-still,
and motionless.
A sky runs parallel,
and it is palings, coarser than the sea's:
splintery sunlight and long-fibred clouds.
"Why does the strange sea make no sound?
Is it because we're far away?
Where are we? Are we in Asia Minor,
or in Mongolia?"
An ancient promontory,
an ancient principality whose artist-prince
might have wanted to build a monument
to mark a tomb or boundary, or make
a melancholy or romantic scene of it.
.
.
"But that ***** sea looks made of wood,
half-shining, like a driftwood, sea.
And the sky looks wooden, grained with cloud.
It's like a stage-set; it is all so flat!
Those clouds are full of glistening splinters!
What is that?"
It is the monument.
"It's piled-up boxes,
outlined with shoddy fret-work, half-fallen off,
cracked and unpainted.
It looks old.
"
--The strong sunlight, the wind from the sea,
all the conditions of its existence,
may have flaked off the paint, if ever it was painted,
and made it homelier than it was.
"Why did you bring me here to see it?
A temple of crates in cramped and crated scenery,
what can it prove?
I am tired of breathing this eroded air,
this dryness in which the monument is cracking.
"
It is an artifact
of wood.
Wood holds together better
than sea or cloud or and could by itself,
much better than real sea or sand or cloud.
It chose that way to grow and not to move.
The monument's an object, yet those decorations,
carelessly nailed, looking like nothing at all,
give it away as having life, and wishing;
wanting to be a monument, to cherish something.
The crudest scroll-work says "commemorate,"
while once each day the light goes around it
like a prowling animal,
or the rain falls on it, or the wind blows into it.
It may be solid, may be hollow.
The bones of the artist-prince may be inside
or far away on even drier soil.
But roughly but adequately it can shelter
what is within (which after all
cannot have been intended to be seen).
It is the beginning of a painting,
a piece of sculpture, or poem, or monument,
and all of wood.
Watch it closely.
|
Written by
Conrad Aiken |
I
The girl in the room beneath
Before going to bed
Strums on a mandolin
The three simple tunes she knows.
How inadequate they are to tell how her heart feels!
When she has finished them several times
She thrums the strings aimlessly with her finger-nails
And smiles, and thinks happily of many things.
II
I stood for a long while before the shop window
Looking at the blue butterflies embroidered on tawny silk.
The building was a tower before me,
Time was loud behind me,
Sun went over the housetops and dusty trees;
And there they were, glistening, brilliant, motionless,
Stitched in a golden sky
By yellow patient fingers long since turned to dust.
III
The first bell is silver,
And breathing darkness I think only of the long scythe of time.
The second bell is crimson,
And I think of a holiday night, with rockets
Furrowing the sky with red, and a soft shatter of stars.
The third bell is saffron and slow,
And I behold a long sunset over the sea
With wall on wall of castled cloud and glittering balustrades.
The fourth bell is color of bronze,
I walk by a frozen lake in the dun light of dusk:
Muffled crackings run in the ice,
Trees creak, birds fly.
The fifth bell is cold clear azure,
Delicately tinged with green:
One golden star hangs melting in it,
And towards this, sleepily, I go.
The sixth bell is as if a pebble
Had been dropped into a deep sea far above me .
.
.
Rings of sound ebb slowly into the silence.
IV
On the day when my uncle and I drove to the cemetery,
Rain rattled on the roof of the carriage;
And talkng constrainedly of this and that
We refrained from looking at the child's coffin on the seat before us.
When we reached the cemetery
We found that the thin snow on the grass
Was already transparent with rain;
And boards had been laid upon it
That we might walk without wetting our feet.
V
When I was a boy, and saw bright rows of icicles
In many lengths along a wall
I was dissappointed to find
That I could not play music upon them:
I ran my hand lightly across them
And they fell, tinkling.
I tell you this, young man, so that your expectations of life
Will not be too great.
VI
It is now two hours since I left you,
And the perfume of your hands is still on my hands.
And though since then
I have looked at the stars, walked in the cold blue streets,
And heard the dead leaves blowing over the ground
Under the trees,
I still remember the sound of your laughter.
How will it be, lady, when there is none left to remember you
Even as long as this?
Will the dust braid your hair?
VII
The day opens with the brown light of snowfall
And past the window snowflakes fall and fall.
I sit in my chair all day and work and work
Measuring words against each other.
I open the piano and play a tune
But find it does not say what I feel,
I grow tired of measuring words against each other,
I grow tired of these four walls,
And I think of you, who write me that you have just had a daughter
And named her after your first sweetheart,
And you, who break your heart, far away,
In the confusion and savagery of a long war,
And you who, worn by the bitterness of winter,
Will soon go south.
The snowflakes fall almost straight in the brown light
Past my window,
And a sparrow finds refuge on my window-ledge.
This alone comes to me out of the world outside
As I measure word with word.
VIII
Many things perplex me and leave me troubled,
Many things are locked away in the white book of stars
Never to be opened by me.
The starr'd leaves are silently turned,
And the mooned leaves;
And as they are turned, fall the shadows of life and death.
Perplexed and troubled,
I light a small light in a small room,
The lighted walls come closer to me,
The familiar pictures are clear.
I sit in my favourite chair and turn in my mind
The tiny pages of my own life, whereon so little is written,
And hear at the eastern window the pressure of a long wind, coming
From I know not where.
How many times have I sat here,
How many times will I sit here again,
Thinking these same things over and over in solitude
As a child says over and over
The first word he has learned to say.
IX
This girl gave her heart to me,
And this, and this.
This one looked at me as if she loved me,
And silently walked away.
This one I saw once and loved, and never saw her again.
Shall I count them for you upon my fingers?
Or like a priest solemnly sliding beads?
Or pretend they are roses, pale pink, yellow, and white,
And arrange them for you in a wide bowl
To be set in sunlight?
See how nicely it sounds as I count them for you—
'This girl gave her heart to me
And this, and this, .
.
.
!
And nevertheless, my heart breaks when I think of them,
When I think their names,
And how, like leaves, they have changed and blown
And will lie, at last, forgotten,
Under the snow.
X
It is night time, and cold, and snow is falling,
And no wind grieves the walls.
In the small world of light around the arc-lamp
A swarm of snowflakes falls and falls.
The street grows silent.
The last stranger passes.
The sound of his feet, in the snow, is indistinct.
What forgotten sadness is it, on a night like this,
Takes possession of my heart?
Why do I think of a camellia tree in a southern garden,
With pink blossoms among dark leaves,
Standing, surprised, in the snow?
Why do I think of spring?
The snowflakes, helplessly veering,,
Fall silently past my window;
They come from darkness and enter darkness.
What is it in my heart is surprised and bewildered
Like that camellia tree,
Beautiful still in its glittering anguish?
And spring so far away!
XI
As I walked through the lamplit gardens,
On the thin white crust of snow,
So intensely was I thinking of my misfortune,
So clearly were my eyes fixed
On the face of this grief which has come to me,
That I did not notice the beautiful pale colouring
Of lamplight on the snow;
Nor the interlaced long blue shadows of trees;
And yet these things were there,
And the white lamps, and the orange lamps, and the lamps of lilac were there,
As I have seen them so often before;
As they will be so often again
Long after my grief is forgotten.
And still, though I know this, and say this, it cannot console me.
XII
How many times have we been interrupted
Just as I was about to make up a story for you!
One time it was because we suddenly saw a firefly
Lighting his green lantern among the boughs of a fir-tree.
Marvellous! Marvellous! He is making for himself
A little tent of light in the darkness!
And one time it was because we saw a lilac lightning flash
Run wrinkling into the blue top of the mountain,—
We heard boulders of thunder rolling down upon us
And the plat-plat of drops on the window,
And we ran to watch the rain
Charging in wavering clouds across the long grass of the field!
Or at other times it was because we saw a star
Slipping easily out of the sky and falling, far off,
Among pine-dark hills;
Or because we found a crimson eft
Darting in the cold grass!
These things interrupted us and left us wondering;
And the stories, whatever they might have been,
Were never told.
A fairy, binding a daisy down and laughing?
A golden-haired princess caught in a cobweb?
A love-story of long ago?
Some day, just as we are beginning again,
Just as we blow the first sweet note,
Death itself will interrupt us.
XIII
My heart is an old house, and in that forlorn old house,
In the very centre, dark and forgotten,
Is a locked room where an enchanted princess
Lies sleeping.
But sometimes, in that dark house,
As if almost from the stars, far away,
Sounds whisper in that secret room—
Faint voices, music, a dying trill of laughter?
And suddenly, from her long sleep,
The beautiful princess awakes and dances.
Who is she? I do not know.
Why does she dance? Do not ask me!—
Yet to-day, when I saw you,
When I saw your eyes troubled with the trouble of happiness,
And your mouth trembling into a smile,
And your fingers pull shyly forward,—
Softly, in that room,
The little princess arose
And danced;
And as she danced the old house gravely trembled
With its vague and delicious secret.
XIV
Like an old tree uprooted by the wind
And flung down cruelly
With roots bared to the sun and stars
And limp leaves brought to earth—
Torn from its house—
So do I seem to myself
When you have left me.
XV
The music of the morning is red and warm;
Snow lies against the walls;
And on the sloping roof in the yellow sunlight
Pigeons huddle against the wind.
The music of evening is attenuated and thin—
The moon seen through a wave by a mermaid;
The crying of a violin.
Far down there, far down where the river turns to the west,
The delicate lights begin to twinkle
On the dusky arches of the bridge:
In the green sky a long cloud,
A smouldering wave of smoky crimson,
Breaks in the freezing wind: and above it, unabashed,
Remote, untouched, fierly palpitant,
Sings the first star.
|
Written by
Oliver Wendell Holmes |
WHERE is this patriarch you are kindly greeting?
Not unfamiliar to my ear his name,
Nor yet unknown to many a joyous meeting
In days long vanished,-- is he still the same,
Or changed by years, forgotten and forgetting,
Dull-eared, dim-sighted, slow of speech and thought,
Still o'er the sad, degenerate present fretting,
Where all goes wrong, and nothing as it ought?
Old age, the graybeard! Well, indeed, I know him,--
Shrunk, tottering, bent, of aches and ills the prey;
In sermon, story, fable, picture, poem,
Oft have I met him from my earliest day:
In my old Aesop, toiling with his bundle,--
His load of sticks,-- politely asking Death,
Who comes when called for,-- would he lug or trundle
His fagot for him?-- he was scant of breath.
And sad "Ecclesiastes, or the Preacher,"--
Has he not stamped tbe image on my soul,
In that last chapter, where the worn-out Teacher
Sighs o'er the loosened cord, the broken bowl?
Yes, long, indeed, I 've known him at a distance,
And now my lifted door-latch shows him here;
I take his shrivelled hand without resistance,
And find him smiling as his step draws near.
What though of gilded baubles he bereaves us,
Dear to the heart of youth, to manhood's prime;
Think of the calm he brings, the wealth he leaves us,
The hoarded spoils, the legacies of time!
Altars once flaming, still with incense fragrant,
Passion's uneasy nurslings rocked asleep,
Hope's anchor faster, wild desire less vagrant,
Life's flow less noisy, but the stream how deep!
Still as the silver cord gets worn and slender,
Its lightened task-work tugs with lessening strain,
Hands get more helpful, voices, grown more tender,
Soothe with their softened tones the slumberous brain.
Youth longs and manhood strives, but age remembers,
Sits by the raked-up ashes of the past,
Spreads its thin hands above the whitening embers
That warm its creeping life-blood till the last.
Dear to its heart is every loving token
That comes unbidden era its pulse grows cold,
Ere the last lingering ties of life are broken,
Its labors ended and its story told.
Ah, while around us rosy youth rejoices,
For us the sorrow-laden breezes sigh,
And through the chorus of its jocund voices
Throbs the sharp note of misery's hopeless cry.
As on the gauzy wings of fancy flying
From some far orb I track our watery sphere,
Home of the struggling, suffering, doubting, dying,
The silvered globule seems a glistening tear.
But Nature lends her mirror of illusion
To win from saddening scenes our age-dimmed eyes,
And misty day-dreams blend in sweet confusion
The wintry landscape and the summer skies.
So when the iron portal shuts behind us,
And life forgets us in its noise and whirl,
Visions that shunned the glaring noonday find us,
And glimmering starlight shows the gates of pearl.
I come not here your morning hour to sadden,
A limping pilgrim, leaning on his staff,--
I, who have never deemed it sin to gladden
This vale of sorrows with a wholesome laugh.
If word of mine another's gloom has brightened,
Through my dumb lips the heaven-sent message came;
If hand of mine another's task has lightened,
It felt the guidance that it dares not claim.
But, O my gentle sisters, O my brothers,
These thick-sown snow-flakes hint of toil's release;
These feebler pulses bid me leave to others
The tasks once welcome; evening asks for peace.
Time claims his tribute; silence now golden;
Let me not vex the too long suffering lyre;
Though to your love untiring still beholden,
The curfew tells me-- cover up the fire.
And now with grateful smile and accents cheerful,
And warmer heart than look or word can tell,
In simplest phrase-- these traitorous eyes are tearful--
Thanks, Brothers, Sisters,-- Children,-- and farewell!
|
Written by
Anne Bronte |
How brightly glistening in the sun
The woodland ivy plays!
While yonder beeches from their barks
Reflect his silver rays.
That sun surveys a lovely scene
From softly smiling skies;
And wildly through unnumbered trees
The wind of winter sighs:
Now loud, it thunders o'er my head,
And now in distance dies.
But give me back my barren hills
Where colder breezes rise;
Where scarce the scattered, stunted trees
Can yield an answering swell,
But where a wilderness of heath
Returns the sound as well.
For yonder garden, fair and wide,
With groves of evergreen,
Long winding walks, and borders trim,
And velvet lawns between;
Restore to me that little spot,
With grey walls compassed round,
Where knotted grass neglected lies,
And weeds usurp the ground.
Though all around this mansion high
Invites the foot to roam,
And though its halls are fair within --
Oh, give me back my HOME!
|
Written by
Anne Sexton |
A woman
who loves a woman
is forever young.
The mentor
and the student
feed off each other.
Many a girl
had an old aunt
who locked her in the study
to keep the boys away.
They would play rummy
or lie on the couch
and touch and touch.
Old breast against young breast.
.
.
Let your dress fall down your shoulder,
come touch a copy of you
for I am at the mercy of rain,
for I have left the three Christs of Ypsilanti
for I have left the long naps of Ann Arbor
and the church spires have turned to stumps.
The sea bangs into my cloister
for the politicians are dying,
and dying so hold me, my young dear,
hold me.
.
.
The yellow rose will turn to cinder
and New York City will fall in
before we are done so hold me,
my young dear, hold me.
Put your pale arms around my neck.
Let me hold your heart like a flower
lest it bloom and collapse.
Give me your skin
as sheer as a cobweb,
let me open it up
and listen in and scoop out the dark.
Give me your nether lips
all puffy with their art
and I will give you angel fire in return.
We are two clouds
glistening in the bottle galss.
We are two birds
washing in the same mirror.
We were fair game
but we have kept out of the cesspool.
We are strong.
We are the good ones.
Do not discover us
for we lie together all in green
like pond weeds.
Hold me, my young dear, hold me.
They touch their delicate watches
one at a time.
They dance to the lute
two at a time.
They are as tender as bog moss.
They play mother-me-do
all day.
A woman
who loves a woman
is forever young.
Once there was a witch's garden
more beautiful than Eve's
with carrots growing like little fish,
with many tomatoes rich as frogs,
onions as ingrown as hearts,
the squash singing like a dolphin
and one patch given over wholly to magic --
rampion, a kind of salad root
a kind of harebell more potent than penicillin,
growing leaf by leaf, skin by skin.
as rapt and as fluid as Isadoran Duncan.
However the witch's garden was kept locked
and each day a woman who was with child
looked upon the rampion wildly,
fancying that she would die
if she could not have it.
Her husband feared for her welfare
and thus climbed into the garden
to fetch the life-giving tubers.
Ah ha, cried the witch,
whose proper name was Mother Gothel,
you are a thief and now you will die.
However they made a trade,
typical enough in those times.
He promised his child to Mother Gothel
so of course when it was born
she took the child away with her.
She gave the child the name Rapunzel,
another name for the life-giving rampion.
Because Rapunzel was a beautiful girl
Mother Gothel treasured her beyond all things.
As she grew older Mother Gothel thought:
None but I will ever see her or touch her.
She locked her in a tow without a door
or a staircase.
It had only a high window.
When the witch wanted to enter she cried"
Rapunzel, Rapunzel, let down your hair.
Rapunzel's hair fell to the ground like a rainbow.
It was as strong as a dandelion
and as strong as a dog leash.
Hand over hand she shinnied up
the hair like a sailor
and there in the stone-cold room,
as cold as a museum,
Mother Gothel cried:
Hold me, my young dear, hold me,
and thus they played mother-me-do.
Years later a prince came by
and heard Rapunzel singing her loneliness.
That song pierced his heart like a valentine
but he could find no way to get to her.
Like a chameleon he hid himself among the trees
and watched the witch ascend the swinging hair.
The next day he himself called out:
Rapunzel, Rapunzel, let down your hair,
and thus they met and he declared his love.
What is this beast, she thought,
with muscles on his arms
like a bag of snakes?
What is this moss on his legs?
What prickly plant grows on his cheeks?
What is this voice as deep as a dog?
Yet he dazzled her with his answers.
Yet he dazzled her with his dancing stick.
They lay together upon the yellowy threads,
swimming through them
like minnows through kelp
and they sang out benedictions like the Pope.
Each day he brought her a skein of silk
to fashion a ladder so they could both escape.
But Mother Gothel discovered the plot
and cut off Rapunzel's hair to her ears
and took her into the forest to repent.
When the prince came the witch fastened
the hair to a hook and let it down.
When he saw Rapunzel had been banished
he flung himself out of the tower, a side of beef.
He was blinded by thorns that prickled him like tacks.
As blind as Oedipus he wandered for years
until he heard a song that pierced his heart
like that long-ago valentine.
As he kissed Rapunzel her tears fell on his eyes
and in the manner of such cure-alls
his sight was suddenly restored.
They lived happily as you might expect
proving that mother-me-do
can be outgrown,
just as the fish on Friday,
just as a tricycle.
The world, some say,
is made up of couples.
A rose must have a stem.
As for Mother Gothel,
her heart shrank to the size of a pin,
never again to say: Hold me, my young dear,
hold me,
and only as she dreamed of the yellow hair
did moonlight sift into her mouth.
|
Written by
Elizabeth Bishop |
for Louise crane
In your next letter I wish you'd say
where you are going and what you are doing;
how are the plays and after the plays
what other pleasures you're pursuing:
taking cabs in the middle of the night,
driving as if to save your soul
where the road gose round and round the park
and the meter glares like a moral owl,
and the trees look so ***** and green
standing alone in big black caves
and suddenly you're in a different place
where everything seems to happen in waves,
and most of the jokes you just can't catch,
like dirty words rubbed off a slate,
and the songs are loud but somehow dim
and it gets so teribly late,
and coming out of the brownstone house
to the gray sidewalk, the watered street,
one side of the buildings rises with the sun
like a glistening field of wheat.
--Wheat, not oats, dear.
I'm afraid
if it's wheat it's none of your sowing,
nevertheless I'd like to know
what you are doing and where you are going.
|
Written by
Anne Sexton |
A woman
who loves a woman
is forever young.
The mentor
and the student
feed off each other.
Many a girl
had an old aunt
who locked her in the study
to keep the boys away.
They would play rummy
or lie on the couch
and touch and touch.
Old breast against young breast.
.
.
Let your dress fall down your shoulder,
come touch a copy of you
for I am at the mercy of rain,
for I have left the three Christs of Ypsilanti
for I have left the long naps of Ann Arbor
and the church spires have turned to stumps.
The sea bangs into my cloister
for the politicians are dying,
and dying so hold me, my young dear,
hold me.
.
.
The yellow rose will turn to cinder
and New York City will fall in
before we are done so hold me,
my young dear, hold me.
Put your pale arms around my neck.
Let me hold your heart like a flower
lest it bloom and collapse.
Give me your skin
as sheer as a cobweb,
let me open it up
and listen in and scoop out the dark.
Give me your nether lips
all puffy with their art
and I will give you angel fire in return.
We are two clouds
glistening in the bottle galss.
We are two birds
washing in the same mirror.
We were fair game
but we have kept out of the cesspool.
We are strong.
We are the good ones.
Do not discover us
for we lie together all in green
like pond weeds.
Hold me, my young dear, hold me.
They touch their delicate watches
one at a time.
They dance to the lute
two at a time.
They are as tender as bog moss.
They play mother-me-do
all day.
A woman
who loves a woman
is forever young.
Once there was a witch's garden
more beautiful than Eve's
with carrots growing like little fish,
with many tomatoes rich as frogs,
onions as ingrown as hearts,
the squash singing like a dolphin
and one patch given over wholly to magic --
rampion, a kind of salad root
a kind of harebell more potent than penicillin,
growing leaf by leaf, skin by skin.
as rapt and as fluid as Isadoran Duncan.
However the witch's garden was kept locked
and each day a woman who was with child
looked upon the rampion wildly,
fancying that she would die
if she could not have it.
Her husband feared for her welfare
and thus climbed into the garden
to fetch the life-giving tubers.
Ah ha, cried the witch,
whose proper name was Mother Gothel,
you are a thief and now you will die.
However they made a trade,
typical enough in those times.
He promised his child to Mother Gothel
so of course when it was born
she took the child away with her.
She gave the child the name Rapunzel,
another name for the life-giving rampion.
Because Rapunzel was a beautiful girl
Mother Gothel treasured her beyond all things.
As she grew older Mother Gothel thought:
None but I will ever see her or touch her.
She locked her in a tow without a door
or a staircase.
It had only a high window.
When the witch wanted to enter she cried"
Rapunzel, Rapunzel, let down your hair.
Rapunzel's hair fell to the ground like a rainbow.
It was as strong as a dandelion
and as strong as a dog leash.
Hand over hand she shinnied up
the hair like a sailor
and there in the stone-cold room,
as cold as a museum,
Mother Gothel cried:
Hold me, my young dear, hold me,
and thus they played mother-me-do.
Years later a prince came by
and heard Rapunzel singing her loneliness.
That song pierced his heart like a valentine
but he could find no way to get to her.
Like a chameleon he hid himself among the trees
and watched the witch ascend the swinging hair.
The next day he himself called out:
Rapunzel, Rapunzel, let down your hair,
and thus they met and he declared his love.
What is this beast, she thought,
with muscles on his arms
like a bag of snakes?
What is this moss on his legs?
What prickly plant grows on his cheeks?
What is this voice as deep as a dog?
Yet he dazzled her with his answers.
Yet he dazzled her with his dancing stick.
They lay together upon the yellowy threads,
swimming through them
like minnows through kelp
and they sang out benedictions like the Pope.
Each day he brought her a skein of silk
to fashion a ladder so they could both escape.
But Mother Gothel discovered the plot
and cut off Rapunzel's hair to her ears
and took her into the forest to repent.
When the prince came the witch fastened
the hair to a hook and let it down.
When he saw Rapunzel had been banished
he flung himself out of the tower, a side of beef.
He was blinded by thorns that prickled him like tacks.
As blind as Oedipus he wandered for years
until he heard a song that pierced his heart
like that long-ago valentine.
As he kissed Rapunzel her tears fell on his eyes
and in the manner of such cure-alls
his sight was suddenly restored.
They lived happily as you might expect
proving that mother-me-do
can be outgrown,
just as the fish on Friday,
just as a tricycle.
The world, some say,
is made up of couples.
A rose must have a stem.
As for Mother Gothel,
her heart shrank to the size of a pin,
never again to say: Hold me, my young dear,
hold me,
and only as she dreamed of the yellow hair
did moonlight sift into her mouth.
|